Georgian National Film Center

The change in Giorgi’s life could not be more radical. The city, art, his regular, middle-class existence and his marriage to Ana are all behind him. Now he is alone. Giorgi goes into isolation on a small barren island in a simple hut by the sea. In an inhospitable environment, surrounded only by a handful of strangers, between chicken farming and duck hunting, he is trying to pick up the pieces of his life. But his wounds are deep, and the shadows of his happy past repeatedly catch up with him.

Three decades after their separation, Irina and Nana remain mesmerized by memories of earlier days. But when Irina returns to the small community she left — where Nana stayed to start a traditional family — the women must reconcile with the past and their complex feelings.

Lifetime friends and neighbors from the same year in Old Tbilisi turn into enemies and confront their fellow neighbor's family when an investor shows up to buy their yard and houses.

Ursus is a story of three outcasts—Georgian unemployed film director, Ukrainian ex-stuntman and a Canadian female fighter for the wild animals' rights—making their desperate journey from Tbilisi, the capital of ex-Soviet Georgia plunged into a civil war, to Berlin at the beginning of 1992. Each of the three characters pursues their own goal without even knowing how much their fates are intertwined.

Elene is an 80-year-old writer who lives with her family, forced to stay home due to health conditions. Her comfort is cracked when her daughter's mother-in-law, Miranda, a former Soviet official, moves into the apartment, and Elene receives an unexpected call from an old love interest, Archil.

On 25th December 2011 the Georgian Patriarch Ilia II described his 34 year-long leadership as head of the Georgian Orthodox Church as a ‘sunny night’. Beginning in 1989, and going up to the present, the film essay Sunny Night tells of political and social events since Georgian Independence. A variety of formats and sources, disparate images and voices report on protests, recommencements, uproars and wars, and religious identity that centres around the dominant religion of the nation. In the midst of the ongoing shifts and the various state of affairs, the patriarch stands out as the only constant figure. Meanwhile the sermonised religion begins to take on radical forms, going as far as priests forming front row human-chains, leading protests of several thousand orthodox believers chasing a handful of LGBT activist throughout the streets of Tbilisi in May 2013.

A long poem to the mountains, Let Us Flow explores the isolated mountainous region of Tusheti, in Northeast Georgia. The film considers the importance of ritual, the maintenance of community ties, and how modernisation and migration are transforming rural landscapes

After accidentally wandering onto someone's property, a simple young man is taken hostage for a ransom of a hundred dollars by two cousins.

Thirteen-year-old Mariam lives with her father, Rezo, in the poor slums of Tbilisi. They share a one room shack. Mariam and Rezo are barely making a living, being forced to steal at times. Along with the struggle against poverty, Mariam also has to deal with the facts of becoming a woman and the fear that her father would betray her in order to make money.

After 14 years in prison, the time has come for Gogita to return to his normal life. His wishes seem modest enough: a home of his own and then marriage to a nice woman. But who would be interested in a poor farmer and ex-con who still lives with his mother? Then he meets Maka on the internet. She's not that young anymore, and she's not the prettiest girl in the world, but she can bake delicious cakes. They're soon making grand plans without even having met.

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